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The 2022 Call for Entries has now closed. Thank you to everyone who entered their work. We look forward to viewing your films!

A Hundred Faces for a Single Day

Christian Ghazi’s incendiary, avant-garde masterpiece A Hundred Faces for a Single Day ends with the send-off, “I don’t care when or how I will die, as long as there are armed men who will continue the march, shaking the earth with their uproar so that the world won’t sleep heavily over the bodies of the laborious, miserable and oppressed men.” Through this fiction-documentary hybrid film, Ghazi forged a strong critique of bourgeois society in Beirut during Lebanon’s Golden Age (which would end in 1975 with a gruelling and protracted civil war). An essay on labour, class, social relations and resistance, Ghazi considered the film his “manifesto on cinema”, a powerful and polemical work that reaches back to the early decades of film experimentation while pioneering radical techniques in multivalent sound, disjunctive montage and an embedded perspectives on direct action.

Selected by Artist in Profile Marwa Arsanios, who will introduce the film

Date: 2022-05-18 14:31:14
ID: 6890
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A Hundred Faces for a Single Day

Christian Ghazi’s incendiary, avant-garde masterpiece ends with the send-off, “I don’t care when or how I will die, as long as there are armed men who will continue the march, shaking the earth with their uproar so that the world won’t sleep heavily over the bodies of the laborious, miserable and oppressed men.”

Selected by Artist in Profile Marwa Arsanios, who will introduce the film

The Lebanese documentarian’s films were so politically volatile that authorities burned them all, except for a single 35mm print of A Hundred Faces which was smuggled out of Syria and returned to the filmmaker.

Director

Christian Ghazi

Production Country

Lebanon

Production Year

1971

Duration

64 mins

Dialogue Language

Arabic

Subtitle Language

English